Godfather Movie Dialogues
DON CORLEONE: Bonasera, we know each other for years, but this is the first time you come to me for help. I don't remember the last time you invited me to your house for cookies...even though our wives are friends. BONASERA: What do you want of me? I'll give you anything you want, but do what I ask! DON CORLEONE: And what is that Bonasera? Tito Bonasera whispers into the Vito's ear. DON CORLEONE: No. You ask for too much Bonasera. BONASERA: I ask for Justice! DON CORLEONE: I'll give you a Justice! BONASERA: An eye for an eye! DON CORLEONE: But your daughter is still alive. BONASERA: Then make them suffer as she suffers. How much shall I pay you? Both Hagen and Sonny come in office. DON CORLEONE: You never think to protect yourself with real friends. You think it's enough to be an American. All right, the Police protects you, there are Courts of Law, so you don't need a friend like me. But now you come to me and say Don Corleone, you must give me justice. And you don't ask in respect or friendship. And you don't think to call me Godfather; instead you come to my house on the day my daughter is to be married and you ask me to do murder...for money. BONASERA: Look in sorry, but France has been good to me... DON CORLEONE: Then take the justice from the judge, the bitter with the sweet, Bonasera. But if you come to me with your friendship, your loyalty, then your enemies become my enemies, and then, believe me, they would fear you... Slowly, Bonasera bows his head and murmurs. BONASERA: Be my friend Godfather. DON CORLEONE: Good. From me you'll get Justice. BONASERA: Thank you Godfather. Lol Godfather DON CORLEONE: Some day, and that day may never come, I would like to call upon you to do me a service in return. EXT DAY: MALL (SUMMER 1997) A High Angel of the Corleone Mall in bright daylight. There are at least five hundred guests filling the main courtyard and gardens. There is music and laughing and dancing and countless tables covered with food and wine. Don Corleone stands at the Gate, flanked on either side by a son: Fredo and Sonny, all dressed in the formal attire of the wedding party. He warmly shakes the hands, squeezes the hands of the friends and guests, pinches the cheeks of the children, and makes them all welcome. They in turn carry with them gallons of homemade wine, cartons of freshly baked bread and pastries, merinques, and enormous trays of France delicacies. The entire family poses for a family portrait: Don Vito Corleone, Carmela, Sonny, Fredo, John Corleone, Johnny Trapani with Sarah, and Charlie and Aldo, Tom Hagen and his wife, Theresa, and their baby; Constanza, the bride, and her bridegroom, Jaggy Jovino. As they move into the pose, THE DON seems preoccupied. DON CORLEONE: Where's Michael? HAGEN: He'll be here Pop, it's still early. DON CORLEONE: Then the picture will wait for him. Everyone in the group feels the uneasiness as the Don moves back to the house. Sonny gives a delicious smile in the direction of the Maid-of-Honor, Lucky Mancini. She returns it. Then he moves to Aldo's mother. SONNY: Sarah, watch the kids. They're running wild. SARAH: You watch yourself! Hagen kisses his wife, and follows the Don, passing the wine barrels, where a group of four men nervously wait. Tom crooks a finger at Pennino, who doublechecks that he is next, straightens, and follows Hagen. EXT DAY: MALL ENTRANCE (SUMMER 1997) Outside the main gate of the Mall, several men in suits, working together with a man in a dark sedan, walk in and out of the rows of parked cars, writing license plate numbers down in their notebooks. We hear the music and laughter coming from the party in the distance. A man stops at a limousine and copies down the number. Agent, dignified in a black homburg, is always under the watchful eyes of two bodyguards as he makes his way to embrace Don Corleone in the courtyard. The men walk down another row of parked cars. Put another number in the notebook. A shiney new Cadillac with wooden bumpers. Pete Clemenza, dancing the Tarenntela joyously, bumping bellies with the ladies. CLEMENZA: Poli...wine...WINE! Hey Poli don't forget about the wine! He mops his sweating forehead with a big handkerchief. Poli hustles, gets a glass of icy black wine, and brings it to him. POLI: You look like terrif on the floor! CLEMENZA: And what are you?, a dance judge? Go do your job; take a walk around the neighborhood... see everything is okay. Poli nods and leaves; Clemenza takes a breath, and leaps back into the dance. The men walk down another row of parked cars. Put another number in the notebook. Tessio, a tall, gentle-looking man, dances with a nine years old girl, like a pedophile, her little black party shoes planted on his enormous brown shoes. The men move on to other parked cars, when Sonny storms out of the gate, his face flushed with anger, followed by Clemenza and Poli. SONNY: Buddy, this is a private party. The man doesn't answer, but points to the driver of the sedan. Sonny menacingly thrusts his reddened face at him. The Driver merely flips open his wallet to a greed card, without saying a word. Sonny steps back, spits on the ground, turns, and walks away, followed by Clemenza, Poli, and Monk Malone. He doesn't say a thing for most of the walk back into the courtyard, and then, muttered to Poli. SONNY: Goddamn FBI...don't respect nothing! INT DAY: DON'S OFFICE (SUMMER 1997) Don Corleone sits quietly behind his massive desk in the dark study. FREAKY: ...a fine boy from Sicily, captured by the American Army, and sent to New Town as a prisoner of war... DON CORLEONE: Willy, my friend, tell me what I can do. FREAKY: Now that the war is over, Enzo, this boy is being repatriated to Italy. And you see, Godfather... (he wrings his hands, unable to express himself) He...my daughter...they... DON CORLEONE: You want him to stay in this country. FREAKY: Godfather, you understand everything. DON CORLEONE: Tom, what we need is an Act of Congress to allow Enzo to become a citizen. FREAKY: (impressed) An Act of Congress! HAGEN: (nodding) It will cost. $$$ Vito shrugs; such are the way with those things; Willy nods. FREAKY: Is that all? Godfather, thank you... (backing out, enthusiastically) Oh, wait till you see the cake I made for your beautiful daughter! Willy backs out, all smiles, and nods to the Godfather. Don Corleone rises and moves to the Venetian blinds. HAGEN: Who do I give this job to? The Don moves to the windows, peeking out through the blinds. DON CORLEONE: Not to one of our paisans...give it to a Jew Congressman in another district. Who else is on the list for today? The Don is peeking out to the men around the barrel, waiting to see him. HAGEN: Francesco Nippi. His nephew has been refused parole. A bad case. EXT DAY: MALL (SUMMER 1997) WHAT HE SEES: Nippi waits nervously by the barrel. HAGEN (O.S.) His father worked for Derek Barrel in the dock yards when you were young back in New York. Luca Brasi sitting alone, grotesque and quiet. HAGEN (O.S.) He's not on the list, but Luca Brasi wants to see you. INT DAY: DON'S OFFICE (SUMMER 1997) The Don turns to Hagen. DON CORLEONE: Is it necessary? HAGEN: You understand him better than anyone. The Don nods to this. Turns back to the blinds and peeks out. EXT DAY: MALL (SUMMER 1997) WHAT HE SEES: Michael Corleone, dressed in the uniform of an Army Captain, leads Connie Adams through the wedding crowd, occasionally stopped and greeted by friends of the family. INT DAY: DON'S OFFICE (SUMMER 1997) The Don, inside the office, peering through the blinds, following them. EXT DAY: MALL (SUMMER 1997) Michael moves through the crowd, embraces Carmela and introduces her to his girl. EXT DAY: OFFICE WINDOW (SUMMER 1997) Vito's eyes peering through the blinds. EXT DAY: MALL TABLES (SUMMER 1997) Connie and Michael settle by a table on the edge of the wedding, burdened down with plates of food and glasses and wine. She is exhilarated by the enormity of the affair, the music and the vitality. CONNIE: I've never seen anything like it. MICHAEL: I told you I had a lot of relatives. Connie looking about, a young and lively thing in a gift shop. We see what she sees: Her interest is caught by three man standing by the wine barrels. CONNIE (amused) Michael, what are those men doing? MICHAEL: They're waiting to see my father. CONNIE: They're talking to themselves. MICHAEL: They're going to talk to my father, which means they're going to ask him for something, which means they better get it right away. CONNIE: Why do they bother him on a day like this? MICHAEL: Because they know that no Sammarinese will refuse a request on his daughter's wedding day. EXT DAY: WEDDING PARTY (SUMMER 1997) Connie Adams (Soon to be Connie Corleone), the Girlfriend, is pressing the bodice of her overly-fluffy white gown against the witness, Sonny Corleone, when Michael leaves. He is bronzed, with curly brown hair and lovely dimples. She absolutely adores him and can barely take her eyes from him long enough to thank the various guests for the white envelopes they are putting into the large white purse she holds. In fact, if we watch carefully, we can see that one of her hands is slid under his jacket, and into his shirt, where she is provocatively rubbing the hair on his chest. Sonny, on the other hand, has his brown eyes trained on the bulging envelopes, and is trying to guess how much cash the things hold. Discreetly, he moves her hand off of his skin. SONNY (whispered) Cut it out, Connie, I know I'm cuter than Michael, but cut it out. I wish you had married me instead of him anyway. The purse, looped by a ribbon of silk around Connie's arm, is fat with money. POLI (O.S.) What do you think? Twenty grand? A little distance away, a young man, Poli Gatto, catches a prosciutto sandwich thrown by a friend, without once taking eyes from the purse. POLI: Who knows? Maybe more. Twenty, thirty grand in small bills cash in that silk purse. Holy Toledo, if this was somebody else's wedding! Sonny is sitting at the Wedding Dias, talking to Lucy Mancini, the Maid of Honour. Every once in a while he glances across the courtyard, where Aldo's mother is talking with his mother. He bends over and whispers something into Lucy's ear. Sarah and mom are in the middle of a big, ribald laugh. CARMELA: Is it true what they say about my middle-aged son, Sarah? Sarah's hands separate with expanding width further and further apart until she bursts into a peal of laughter. Through her separated hands she sees the Wedding Dais. Sonny and Lucy are gone. INT DAY: DON'S HALL & STAIRS (SUMMER 1997) The empty hallway. The bathroom door opens and Lucy surreptitiously steps out. She looks up where S0nny is standing on the second landing, motioning for her to come up. She lifts her petticoats off the ground and hurries upstairs. EXT DAY: MALL TABLES (SUMMER 1997) Connie and Michael. CONNIE: (in a spooky low tone) Michael, that scary guy...Is he a relative? She has picked out Luca Brasi. MICHAEL No. His name is Luca Brasi. You wouldn't like him. CONNIE: (Excited) Who is he? MICHAEL: (Sizing her up) You really want to know? CONNIE: Yes. Tell me. MICHAEL: You like spaghetti? CONNIE: You know I love spaghetti! MICHAEL: Then eat your spaghetti and I'll tell you a Luca Brasi story. She starts to eat her spaghetti, and for dessert marque. She begins eating, looking at him eagerly. MICHAEL: Once upon a time, about fifteen years ago some people wanted to take over my father's olive oil business. They had Don Guy F*cktard send some men in from Italy to kill my father, and they almost did. CONNIE: Don Guy Fuc-what? MICHAEL: Well, Don F*cktard escaped, but my father sent Luca Brasi after them. He killed the two F*ck men hand and foot, and stuffed small bath towels into their mouths. Then he took an ax, and chopped one man's feet off... Connie: Michael... MICHAEL: Then the legs at the knees... CONNIE: Michael you're trying to scare me... MICHAEL: Then the thighs where they joined the torso. CONNIE: Michael, I don't want to hear anymore... MICHAEL: Then Luca turned to the other man... CONNIE: Michael, I love you. MICHAEL: ...who out of sheer terror had swallowed the (too disturbing to write, it shakes me) **** towel in his n*/(k by putting ***** *** ****. The smile on Luca's face seems to indicate that he is telling a tall story. CONNIE: I never know when you're telling me the truth. MICHAEL: I told you you wouldn't like him. CONNIE: He's coming over here! LUCA comes toward them to meet TOM HAGEN halfway, just near their table. MICHAEL: Tom... Tom, I'd like you to meet Connie Adams. CONNIE: (having survived LUCA) How do ya'll do? MICHAEL: My brother, Tom Hagen. HAGEN: Hello uh, what's your name aga-Connie. Your father's inside, doing some uh,... business. (privately) He's got a, uh, ah, lot of, uh job too to, heh. MICHAEL: Thanks Tom. HAGEN smiles and moves back to the house, LUCA ominously following. LUCA: Hey Tom! You see that girl over there (meaning Connie) I'll tell ya, I'll get me some of that, she'd better be ready for more than 10 rounds! Haha! CONNIE: If he's your brother, why does he have a different surfname? MICHAEL: My father Vito found him living in the streets when he was a kid, so my father took him in. He's a good lawyer. INT DAY: DON'S OFFICE (SUMMER 1997) DON CORLEONE at the window. He has seen the intimacy of the YOUNG COUPLE. LUCA (O.S.) Don Corleones... THE DON turns to the stiffly formal LUCA, and he moves forward to kiss his hand. He takes a dollar from his jacket, holds it out, but does not release it until he makes a formal speech. LUCA: Don Corleone, I am honoured, and grateful...that uh, u invited me to your home on the wedding day of your... (quietly) sexy, (normal talk) daughter. May their 40's child...be a masculine child. I pledge my never ending loyalty. (he offers the dollar) For your daughter to buy herself a new dress. DON CORLEONE: Thank you, Luca, my most valued slave. THE DON takes it, and then LUCA's hand, which he squeezes so tightly we might imagine it to be painful if he broke it. Luca yells. LUCA: AAARGHHAAA!!! MUH HAND!!!! I'mma leave you now, Don Corleone. Cause I KNOW! you are busy. He turns, almost an about-face, and leaves the study with the same formality he entered with. DON CORLEONE breathes more easily, and gives the thick dollar to HAGEN instead to daughter. DON CORLEONE: My daughter's got enough, Tom, go buy yourself somethin' nice. HAGEN: Thanks, but the Senator called, too apologised for not coming personally, but said you'd understand. Also, some of the Judges... they've all sent gifts. And another call from Virgil Sollozzo. DON CORLEONE is not pleased. HAGEN: The busness is narcotics. Sollozzo has contacts in Turkey for the poppy, in France for the plants to process down to morphine or up to heroin. Also he has access to this country. He's coming to us for financial help, and some sort of immunity from the law. For that we get a piece of the action, I couldn't find out how much. Sollozzo is vouched for by the Tattaglia family, and they may have a piece of the action. They call Sollozzo a Turk. He's spent a lot of time here in France, and is suppose to have a French wife and kid. He's suppose to be very quick with the knife, or was, when he was younger. Only in matters of business and with some reasonable complaint. Also he has an French wife and 1 children and he is a good family man. THE DON nods. HAGEN: He's his own boss, and very competent. DON CORLEONE: And with prison record. Lol. HAGEN: Two fronts; one in Turkey, one here in France. He's known to the Mayor as the top narcotics man. That could be a plus for us: he could never get immunity to testify. DON CORLEONE :When did he call? HAGEN: This morning. DON CORLEONE: On a day like this. Tomas, do you also have in your notes the the Turk made his living from prostitution before the War, like the Tattaglias do now. Write that down before you forget it. The Turk will wait. We now begin to hear a song coming over the loud-speakers from outside. In France, with unmistakable style. DON CORLEONE: What is that? It sounds like Johnny. He moves to the window, pulls the blinds up, flooding the room with light. DON CORLEONE: It is. He came all the way from California to be at the wedding. HAGEN: Zat's a lot. Should I bring him in? DON CORLEONE: (Trollface) No. Let him wait. You see? He sucks, I only act as his friend. HAGEN: Interesting. But It's been two years. He will probably figure out u hate him. EXT DAY: MALL (SUMMER 1997) JOHNNY FONTANA on the bandstand, singing to the delight and excitement of the wedding guests. CONNIE: I didn't know your family knew singer surplus movie star Johnny Fontana. MICHAEL: Of course u didn't. CONNIE: I used to come down to his studio in Hollywood whenever he was practising on a pirate movie, he scream my head off. MICHAEL: He's my father's slave, father acts like he is a friend. JOHNNY finishes the song and the guys screams "U suck-azz!". They say he better get out when DON CORLEONE appears. DON CORLEONE: My Sla-Friend has come thousand miles to do us honour and no one thinks to wet his throat. At once a dozen wine glasses are offered to DON, who takes a sip from each as he moves to welcome JOHNNY in his office. JOHNNY: I keep trying to call you after my divorce and Tom always said you were busy. When I got the wedding invitation I knew you weren't sore at me anymore, Godfather. DON CORLEONE: Can I do something for you still? You're not too rich, or have too good movies that I can't help you? JOHNNY: I'm not rich anymore nor I ever was, Godfather, and my... my career, I'm almost washed up... He's very disturbed. The GodFATHER! indicates that he come with him to the office so no one will notice. He turns to HAGEN. DON CORLEONE: Tell Santino to come in with us. He should hear some things. They go, leaving HAGEN scanning the party looking for SONNY. INT DAY: DON'S OFFICE (SUMMER 1997) HAGEN glances up the staircase. HAGEN: Sonny? Then he goes up. INT DAY: DON'S UPSTAIRS ROOM (SUMMER 1997) SONNY and LUCY are in a room upstairs, he has lifted her gown's skirts almost over her head, and has her standing against the door. Her face peeks out from the layers of petticoats around it like a flower in ecstasy. LUCY: Sonny! Stop, plz. Her head bouncing against the door with the rhythm of his body. But there is a knocking as well. They stop, freeze in that position. HAGEN: Sonny? Sonny, you in there? INT DAY: DON'S UPSTAIRS HALLWAY (SUMMER 1997) Outside, HAGEN by the door. HAGEN: The old fart wants you, Johnny's here he's got a, how should I say, uh, ah, ... a problem. SONNY: Okay. One minute. HAGEN hesitates. We hear LUCY'S head bouncing against the door again. TOM leaves. INT DAY: DON'S OFFICE (SUMMER 1997) DON CORLEONE: Act like Men! By Christ in Heavens, is it possible you turned out no better than a French star! HAGEN laughs, so much tears are coming from his eyes and JOHNNY is crying 'cus DON yelled at him. The DON angers. SONNY enters as noiselessly as possible, still adjusting his clothes. DON CORLEONE: YOU!!! Sonny, (his anger stops) All right, Johnny...Now tell me about this Hollywood paisan who won't let you work. JOHNNY: *Still sobbing* He owns a studio, wants me too be in a movie; Time Smashers. Just a month ago he bought the movie rights to this book, a best seller. And the main character is a guy just like me. I wouldn't even have to act, just be myself. The DON is silent. DON CORLEONE: You take care of your family? JOHNNY: Sure. He looks at SONNY, who makes himself as inconspicuous as he can. DON CORLEONE: You look like a woman. I want you to f*ck your wife well, put the kid to rest. And spend time with your family. And then, at the end of the month, this big shot will give you the part you want. JOHNNY: It's too late. All the contracts have been signed, they're almost ready to shoot, and some guy Johnny Cage is, well, going to play me. DON CORLEONE: I'll make studio owner an offer he can't refuse. He takes JOHNNY to the door, punching his back hard enough to hurt, JOHNNY starts coughing. DON CORLEONE: What dat?, dat ahem, ahem? Huh!? Next time tell me, now go back to the party and never come back! Jk, I will handle the studio. He shots the door so much they trundle, DON is smiling to himself. Turns to HAGEN. DON CORLEONE: When does my daughter-in-law leave with her husband? HAGEN: They'll cut the cake in a few minutes, and eat the food, they leave right after that. Your young friend Carl, do we give him something important? DON CORLEONE: No, give him a living. But never let him know the family's business. What else, Tom? HAGEN: I've called the hospital, they've notified Capo of Genco's family to come and wait. Genco's very sick. This saddens the DON. He sighs. DON CORLEONE: Genco will wait for me. Santino, tell your brothers they will come with me to the hospital to see Genco. Tell Fredo to drive the car, and ask Johnny to come with us. HAGEN: Sonny AND Michael? DON CORLEONE: All my sons. Tom, I want you to go to California tonight. Make the arrangements. But don't leave until I come back from the hospital and speak to you. U understand? HAGEN: Yes, Godfather. EXT DAY: MALL (SUMMER 1997) Now all the wedding guests excitedly clap their hands over the entrance of the cake: JAGGY is beaming as he wheels in a serving table containing the biggest, tastiest, most extravagant wedding cake ever baked, an incredible monument of his gratitude. The CROWD is favourably impressed, they begin to clink their knives, spoons and forks against the glass, in the traditional request for the Bride to cut the cake and kiss Michael. Louder and louder, five hundred forks hitting five hundred glasses and breaking some of them. EXT DAY: MALL (SUMMER 1997) Silence. HIGH ANGLE ON THE MALL, late day. The guests are gone. A single black car is in the courtyard. WILLY is behind the driver's seat: the DON enters the car, looks at MICHAEL, who sits between SONNY and JOHNNY in the rear seats. DON CORLEONE: Will your wife get back to the city all right? MICHAEL: Tom said he'd take care of it. The DON pulls the door shut, and the car pulls out, through the gate of the great Corleone Mansion. INT DAY: HOSPITAL CORRIDOR (SUMMER 1997) A long white hospital corridor, at the end of which we can see a grouping of FIVE DOCTORS, some old and some young. DON CORLEONE and his SONS move toward the end. But then the DON slows, putting his hand on MICHAEL's shoulder. MICHAEL stops and turns toward his FATHER. The two looks at one another for some time. Silence. DON CORLEONE then lifts his hand, and slowly touches a particular medal on MICHAEL's uniform. DON CORLEONE: What was this for? MICHAEL: For bravery? DON CORLEONE: And this? MICHAEL: For killing a man. DON CORLEONE: What miracles you do for wifes. MICHAEL: I fought for my country. It was my choice. DON CORLEONE: And now, what do you choose to do? MICHAEL: I'm going to finish buisness. DON CORLEONE: Good. When you are finished, come and talk to me. I have hopes for you. Again they regard each other without a word. MICHAEL turns, and continues on. DON CORLEONE watches a moment, and then follows. INT DAY: HOSPITAL ROOM (SUMMER 1997) DON CORLEONE enters the hospital room, moving closest to OUR VIEW. He is followed by his SONS, JOHNNY and the DOCTORS. DON CORLEONE: (whispered) Genco, I've brought my sons to pay their respects. And look, even Johnny Bontana, all the way from Hollywood. (Looks at Genco) HOLY SHIT!!!! WTF? IS THIS? GENCO is a tiny, wasted skeleton of a man. DON CORLEONE takes his bony hand, holds it and throws Genco of the bed, he is pissed and argues at all his SONS, JOHNNY, and THE DOCTORS. DON CORLEONE: Why? WHY?! No!!!!! Genco's dead! (Don cries on his bony body). DON CORLEONE: I have no such power...but I must cry, GET OUT! SONS, DOCTORS, and JOHNNY leave the room. SONNY: What's with him? JOHNNY: He's gone crazy. DON CORLEONE: You poor guy... No! Go! To Heavens! (Grabs Genco's skeleton and throws him on the ground). DON: I need my Lawyer here. (Crys) The DON stops crying all the others return to the room. He returns his attention to JOHNNY. DON: You... Nevermind. IN NIGHT: AIRPLANE (SUMMER 1997) FADE IN: The interior of a non-stop Constellation. HAGEN is one of the very few passengers on this late flight. He looks like any young lawyer on a business trip. He is tired from the difficult preparation and duties that he has just executed during the wedding. On the seat next to him is an enormous, bulging briefcase. He closes his eyes. IN NIGHT: BATES HOTEL (SUMMER 1997) The Bates hotel: SONNY and CONNIE. SONNY is in his undershorts, sitting up on the bed, anxiously taking the envelopes out of the silk bridal purse and counting the contents. CONNIE prepares herself in the large marble bathroom. She rubs her hands over his bronze shoulders, and tries to get his interest. She's cheatin' Michael. IN NIGHT: DON'S OFFICE (SUMMER 1997) DON CORLEONE in his office eating cookies. LUCA BRASI sitting near to him drinking coffee. DON CORLEONE: Luca, I'mma little worried about this man Sollozzo. Find out what you can, through the Tattaglias. Let them believe you could be tempted away from the Corleone family, if the right offer was made. Learn what he has under his sleves... IN NIGHT: MANCINI APT. HALL (SUMMER 2009) The hallway of an apartment building. SONNY enters, climbs two steps at a time. He knocks, and then whispers. SONNY: It's me, Sonny. The door opens, and two lovely arms are around him, pulling him into the apartment. IN NIGHT: LUCA'S ROOM (WINTER 2009) LUCA BRASI's tiny room. He is partly dressed. He kneels and reaches under his bed and pulls out a small, locked trunk. He opens it, and takes out a heavy, bullet-proof vest. He puts it on, over his wool undershirt, and then puts on his shirt and jacket. He takes his gun, quickly disassembles, checks, and reassembles it. And leaves. IN NIGHT: DON'S OFFICE (SUMMER 2009) A CLOSE VIEW of DON CORLEONE thinking quietly. IN NIGHT: MOVING TRAIN (SUMMER 2009) MICHAEL and CONNIE on a train, speeding on their way to Pariz. IN NIGHT: SUBWAY (WINTER 2009) LUCA, in his bulky jacket, sitting quietly on an empty subway train. IN NIGHT: AIRPLANE (SUMMER 2009) HAGEN on the Constellation. He reaches into his briefcase, and takes out several pictures and papers. One photograph is of a smiling man, JACKSON WOLTZ, linked arm in arm with fifteen movie stars on either side, including a lovely young child star to his immediate right. HAGEN: Woltz... IN NIGHT: DON'S OFFICE (SUMMER 2009) DON CORLEONE looks, and then moves HAGEN into an embrace. He straightens his arms and looks at TOM deeply. DON CORLEONE: Remember my Lawyer, a lawyer with his briefcase can steal more than a hundred men with guns. EXT DAY: WOLTZ ESTATE GATE (SUMMER 2009) JACKSON WOLTZ ESTATE. HAGEN stands before the impressive gate, armed only with his briefcase. A GATEMAN opens the gate, and TOM enters. EXT DAY: WOLTZ GARDENS (SUMMER 2009) HAGEN and WOLTZ comfortably stroll along beautiful formal gardens, martinis in hand. WOLTZ: You should have told me your boss was Corleone, Tom, I had to check you out. I thought you were just some third rate hustler Johnny was running in to bluff me. (he cuts a piece of pie) Apple pie, my favorite. Johnny Cage is in better movies. They cross the garden and head toward the stables. WOLTZ: I'ma going to show you something beautiful. They pass the stables, and come to rest by a stall with a huge bronze plaque attached to the outside wall: "KHARTOUM." TWO SECURITY GUARDS are positioned in chairs nearby; they rise as WOLTZ approaches. WOLTZ: You like horses? I like horses, I love 'em. Beautiful, expensive Racehorses. The animal inside is truly beautiful. WOLTZ whispers to him with true love in his voice. WOLTZ: Khartoum, haha Kartoum...You are looking at six hundred thousand dollars on four hoofs. I bet even Russian Dictators never paid that kind of cash for a single horse. But I'm not going to race him I'm going to put him out to Stud. IN NIGHT: WOLTZ DINING ROOM (SUMMER 1997) HAGEN and WOLTZ sit at an enormous dining room table, attended by SEVERAL SERVANTS. Great paintings hang on the walls. The meal are tater tots, cookies, and pie. HAGEN: Mr. Corleone is Johnny's friend. That is very close, a very sacred friendship. WOLTZ: Okay, but just tell him this is one favor I can't give. But he should try me again on anything else. HAGEN: He never asks a second favor when he has been refused the first. Understand? WOLTZ: You Italian som of a bitch! Let me lay it on the line for you, and your boss! Johnny Trapani never gets that movie. I don't care how great friends your boss and Johnny are, u think I'm scared of yo boss? HAGEN: I'm German. WOLTZ: Okay my "German" friend, Johnny will never get that part because I hate that bakin' punk and I'm going to run him out of the movie! And I'll tell you why, he ruined one of Wu Shu' most valuable scenes. For five years I had this girl training: fighting ninjas! Acting lessons! Speeching lessons! We spent hundreds of thousands of dollars, I was, I was going to make her a star. I'll be even more rich $, just to show you that I'm not a hard-hearted man, that it wasn't all dollars and cents. That girl was beautiful and young and innocent and she was the greatest piece of ass I've ever had and I've had them all over the world! Then Johnny comes in and starts talking with that olive oil and start kicking the ninjas. She threw it all away to make me look ridiculous. A man in MY position cannot afford to be made ta look ridicoluos! EXT DAY: GENCO OLIVE OIL CO. (SUMMER 2009) An unimposing little building in France City on Mott Street with a large old sign: "GENCO OLIVE OIL IMPORTS, INC." next to an open-faced fruit market. A dark Buick pulls up, and a single small man, whom we cannot see well because of the distance, gets out and enters the building. This is VIRGIL SOLLOZZO. INT DAY: OLIVE OIL OFFICES (SUMMER 2009) Looking toward the staircase we can hear SOLLOZZO's footsteps before he actually rises into view. He is a small man, very dark, with curly black hair. But wiry, and tight and hard, and obviously very dangerous. He is greeted at the head of the stairs by SONNY, who takes his hand and shakes it, introducing himself. For a moment, there is a complex of handshaking quite formal, and whispered respectful introductions. Finally, SOLLOZZO is taken into the DON's glass paneled office, the two principals are introduced. They are very respectful of one another. Folding chairs are brought in by WILLY, and soon they are all sitting around in a circle: the DON, SOLLOZZO, SONNY, HAGEN, WILLY, FREDO and TESSIO. The DON is the slightest bit foolish with all his compatriots, whereas SOLLOZZO has brought no one. Throughout all that transpires, however, it is clear that this scene is between two men: SOLLOZZO and DON CORLEONE. SOLLOZZO: Uh, my business is heroin, I have poppy fields, laboratories in Turky and here, ready to go into production. My importing methods are as safe as these things can be, about five per cent loss. The risk is nothing, the profits enormous. DON CORLEONE: Why do even you come to me? Why do I deserve your generosity? SOLLOZZO: I need two million dollars in cash, more important, I need a friend who has people in high places, a friend who can guarantee that if one of my employees be arrested, they would get only light sentences. Be my friend? Huh? DON CORLEONE: What percentages for my family? SOLLOZZO: Thirty per cent. In the first year your share would be four million dollars; then it would go up. DON CORLEONE: And what is the percentage of the Tattaglia family? SOLLOZZO nods toward HAGEN. SOLLOZZO: Well, my compliments. I'll take care of them from my share. DON CORLEONE: So,... I receive 30 per cent just for finance and legal protection. No worries about operations, is that what you wannah tell me? SOLLOZZO: If you think two million dollars in cash is just finance, I congratulate you Don Corleone. There is a long silence; in which each person present feels the tension. FREDO is about to give his answer, but DON is first. FREDO: Wha- DON CORLEONE: I said I would see you because I've heard you're a serious man, to be treated with respect, (smiles) But I'll say no to you. We feel this around the room. SONNY is nerves evem more than FREDO and is as we see soon gonna say sumthin'. DON CORLEONE: I'll give you my reasons. I have many friends in Politics that's true. But they wouldn't be so friendly if my business was narcotics instead of gambling. They think gambling is something like liquor, a harmless vice...and they think narcotics is dirty business. SOLLOZZO takes a breath. DON CORLEONE: Now...how a man makes his living is none of my business. But this proposition of yours is too risky. All the people in my family lived well the last ten years, I won't risk that out of greed. SOLLOZZO: Are you worried about security for your million? DON CORLEONE: Uh, (sweating) No. SOLLOZZO: Why u sweatin' afraid u will lose the million? Look, the Tattaglias will give you protection also. SONNY can't take it any longer, he blurts out. SONNY: The Tattaglia family guarantees our protection!? That yellow f*cks?! FREDO: Shut up! DON: SILENCE! Punks! Kids like u two, must be quite!!! SOLLOZZO hears how DON threats his family, and then very slowly turns to face him. Everyone is the room knows that SONNY has stepped out of line. DON CORLEONE: Young people like dat shit (meaning SONNY) are greedy, and they have no manners. They speak when they should listen. But I can also beat up my children, and I've beat 'em up once, as you see. But Mr. Sollozzo, my noh is final. SOLLOZZO nods, understands that this is the dismissal. He looks one last time at SONNY. He rises; all the others do as well. He looks the DON, shakes his hand, and formally takes his leave. When the footsteps can no longer be heard: The DON with very angry face turns to SONNY... and Fredo. DON CORLEONE: Santino! I will never again let you talk during a deal! You piece of shit!... AND you! (Turns to Fredo) Little cunt! Never talk! If I ever hear u two talk again, I will smash your heads against the wall! TWO OFFICE WORKERS are carrying an enormous floral display with the word "ZANK YOU" spelled out in flowers. DON CORLEONE: Da f*ck's this? HAGEN: It's from Johnny. It was announced this morning. He's going to play the lead in the new Wu Shu TV show. INT DAY: WOLTZ'S BEDROOM (SUMMER 2009) It is large, dominated by a huge bed, in which a man, presumably WOLTZ, is sleeping. Soft light bathes the room from the large windows. We move closer to him until we see his face, and recognize JACKSON WOLTZ. He turns uncomfortably, mutters, feels something strange in his bedsheets. Something wet. He wakens, feels the sheets with displeasure, they are wet. He looks at his hand: the wetness is blood. He is frightened, pulls aside the covers, and sees fresh blood on his sheets and pajamas. He grunts, pulls the puddle of blood in his bed. He feels his own body frantically, moving, down, following the blood, until he is face to face with the great severed head of Khartoum lying at the foot of his bed. Just blood from the hacked neck. White reedy tendons show. He struggles up to his elbows in the puddle of blood to see more clearly. Froth covers the muzzle, and the enormous eyes of the animal are yellowed and covered with blood. WOLTZ tries to scream, but cannot. No sound comes out. Then, finally and suddenly an ear-splitting scream of pure terror escapes from WOLTZ, who is rocking on his hands and knees in an uncontrolled fit, blood all over him. INT DAY: OLIVE OIL OFFICES (SUMMER 1997) CLOSE VIEW on the GODFATHER. Nodding. DON CORLEONE: Send Johnny my congratulations. (Missing scene) Next scene: EXT DAY: FIFTH AVENUE (WINTER 1997) Fifth Avenue in the snow. Christmas week. People are bundled up with rosy faces, rushing to buy presents. CONNIE and MICHAEL exit a Fifth Avenue department store, carrying a stack of gaily wrapped gifts, arm in arm. CONNIE: We have something for your mother, for Sonny, we have the tie and pistol for Fredo and Tom Hagen gets the Reynolds pen... MICHAEL: And what do you want for Christmas? CONNIE: Just you. They kiss. INT DAY: HOTEL ROOM (WINTER 1997) CLOSE ON a plastic radio, playing quiet Music. THE VIEW PANS AROUND the dark hotel room, curtained against the daylight. MICHAEL (O.S.) We'll have a quiet, civil ceremony at the City Hall, no big fuss, no family, just a couple of friends as witnesses. The two are in each other's arms in a mess of bedsheets on the two single beds that they have pushed together. CONNIE: What will your father say? MICHAEL: As long as I tell him beforehand he won't object. He'll be hurt, but he won't object. CONNIE: What time do they expect us? MICHAEL: For dinner. Unless I call and tell them we're still in Pariz. CONNIE: Michael. MICHAEL: Then we can have dinner, see a show, and spend one more night. He moves to the telephone. MICHAEL (CONT'D.) Operator! Get me 98798- CONNIE: Michael, what are you doing? MICHAEL: Shhh, you be the long distance operator. Here. CONNIE: Helloh, uh, this is Long Distance. I have a call from Pariz. Mr. Michael Corleone. One moment please. She hands the phone to MICHAEL who continues the deception. MICHAEL: Hello, Tom? Michael. Yeah listen, we haven't left yet. I'm driving down to the city with Connie tomorrow morning. There's something important I want to tell the old fart before Christmas. Will he be home tomorrow night? INT DAY: OLIVE OIL OFFICE (WINTER 1997) HAGEN in the Olive Oil Company office. In the background, through the glass partitions, we can see the DON, at work in his office. TOM is tired, and steeped in paperwork. HAGEN (O.S.) Sure. Anything I can do for ya'll. MICHAEL (O.S.) No. I guess I'll see you in Christmas. Everyone's going to be out at Long Beach, right? HAGEN: Right. He smiles. MICHAEL has hung up. He looks at the piles of work, and can't face it. He rises, puts on his coat and hat, and continues out. He peeks into the DON's office. HAGEN: Michael called: he's not leaving Pariz until tomorrow morning. I've got to go, I promised Theresa I'd pick up some toys for the kids. The DON smiles and nods. TOM smiles, and leaves; OUR VIEW remaining with DON CORLEONE. WILLY is sitting on a bench in the corner, reading the afternoon paper. He puts aside the papers the office manager has prepared for him, and then moves to WILLY, raps his knuckles on his head to take his nose out of the paper. DON CORLEONE: Tell Poli to get the car from the lot, I'll be ready to go home in a few minutes. FREDO: I'll have to get it myself; Poli called he sick this morning. DON CORLEONE: A new Virus for him. I think maybe you'd better get a healthier bodyguard for me. Tell Tom. FREDO: (going) Poli's a good kid. If he's sick, he's sick. I don't mind getting the car. FREDO leaves. He slowly puts on his jacket. Looks out his window. EXT DUSK: OLIVE OIL CO. (WINTER 1997) FREDO crosses the street. INT DUSK: OLIVE OIL OFFICE (WINTER 1997) OFFICE MANAGER Buon Watale, Don Corleone. The MANAGER helps him on with his overcoat. Once again, the DON glances out his window. The black car pulls up; FREDO driving. DON CORLEONE: Merry Christmas! (handing the MANAGER an envelope) And he starts down the stairs. EXT DUSK: OLIVE OIL CO. (WINTER 1997) The light outside is very cold, and beginning to fail. When FREDO sees his FATHER coming, he moves back into the driver's seat. The DON moves to the car, and is about to get in when he hesitates, and turns back to the long, open fruit stand near the corner. SCOTTIE HARRIS springs to serve him. The DON walks among the trays and baskets, and merely points to a particular orange. As he selects, SCOTTIE gingerly picks the oranges and puts them into a paper bag. The DON pays with a five dollar bill, waits for his change, and then turns back to the car. EXT DUSK: POLKS TOY STORE (WINTER 1997) TOM HAGEN exits carrying a stack of presents, all gift wrapped. He continues past the windows. As he walks, someone walks right in his way. He looks up. It is SOLLOZZO. He takes TOM by the arm and walks along with him. SOLLOZZO: (quietly) Don't be frightened. I just want to talk to you. HAGEN: No, please. A car parked at the curb suddenly flings its rear door open. SOLLOZZO (urgently) Get in, I want to talk to you. I won't hurt you. HAGEN pulls his arm free. He is frightened and scared. HAGEN: Don't harm me. DONNY MARINELLI and MIKEY SOLERI suddenly appear on either side of him. SOLLOZZO: Get in the car. If I wanted to kill you you'd be dead already. Trust me. HAGEN, sick to his stomach, moves with his ESCORTS, leaving our VIEW on the Mechanical windows gaily bobbing the story of Hansel and Gretel. We HEAR the car doors shut, and the car drive off. EXT NIGHT: RADIO CITY - PHONE BOOTH (WINTER 1997) RADIO CITY MUSIC HALL during the Christmas show. CONNIE and MICHAEL exit: tears are still streaming down her cheeks, and she sniffles, and dries her tears with Kleenex. CONNIE nostalgically hums "The Bells of Saint Mary's" as they walk arm in arm. CONNIE: Would you like me better if I were a nun? MICHAEL: No. CONNIE: Would you like me better if I were a shopkeepa? They have passed a little enclosed newsstand. CONNIE sees something that terrifies her. She doesn't know what to do. MICHAEL still walks, thinking about her question. CONNIE: (a little voice) Michael? MICHAEL: I'm thinking about it. CONNIE: Michael... MICHAEL: Nah, I would not like you better if you were shopkeeper. She cannot answer him. Rather she pulls him by the arm, back to the newsstand, and points. His face goes grave. The headlines read: "VITO CORLEONE SHOT, SHOPKEEPER GUNNED DOWN." MICHAEL is worried; quickly he takes each edition, drops a dollar in the tray, and hungrily reads through them. CONNIE knows to remain silent. MICHAEL: (desperately) They don't say if he's dead or alive! EXT DUSK: OLIVE OIL CO. (WINTER 1997) DON CORLEONE by the fruit stand, he is about to move to the car, when DONNIE and MIKEY step from the corner. Suddenly, the DON drops the bag of oranges and runs with startling quickness toward the parked car. DON CORLEONE: Fredo, Fredo! O! Noh! The paper bag has hit the ground, and the oranges begins rolling along the sidewalk, as we HEAR gunshots. Seven bullets catch the DON in the back; he arches in pain, and continues toward the car. SCOTTIE rushes for cover, knocking over an entire case of fruit. DONNY and MIKEY move in quickly, anxious to finish him off. Their feet careful to avoid the rolling orange. There are more GUNSHOTS. FREDO is hysterical, he tries to get out of the car, having difficulty opening the door. He rushes out, a gun trembling in his hand, his mouth open. He actually drops the gun. The gun falls amid the rolling orange. DONNY and MIKEY are panicked. They fire once more at the downed DON CORLEONE. His leg and arm twitch where they are hit; and pools of blood are beginning to form. DONNY and MIKEY are obviously in a state of panic and confusion: they disappear around the corner as quickly as they came. The folks in the avenue have all but disappeared: rather, we catch glimpses of them, poking their heads safely from around corners, inside doorways and arches, and from windows. But the street itself is now empty. FREDO is in shock, he looks at his FATHER; now great puddles of blood have formed, and the DON is lifeless and face down in them. FREDO falls back on to the curb and sits there, saying that DON deserves it in one way. He begins to weep a little, but then he smiles a little. IN NIGHT: SUBWAY (WINTER 1997) LUCA BRASI riding alone on a subway train, late at night. He gets off. He emerges at a subway terminal, proceeds out. EXT NITE: STRIP CLUB STREET (WINTER 1997) LUCA walks down the late night street. He approaches an dirty French Strip club, whose gaudy neon sign is still winking this late at night. He waits and watches. Then the sign goes out, and he proceeds into the club. IN NITE: STRIPTCLUB (WINTER 1997) The main floor of the Strip Club is very large, with three strip poles. Now, at this late time, the chairs have been stacked on the tables and a JANITOR is waxing them. A single STRIP GIRL is counting her money. LUCA moves past the empty bandstand, and sits at the bar. ANOTHER MAN, dark and very well-built, moves behind the bar. BRUNO: Luca... I'm Bruno Tattaglia. LUCA: K. LUCA looks up, and out of the shadows emerges SOLLOZZO. SOLLOZZO: Do you know who I am? LUCA Nods. SOLLOZZO: You've been talking to the Tattaglias. They thought we could do business. LUCA listens. SOLLOZZO: I need somebody strong to protect my operations, physically. I've heard you're not happy with your family, you might make a switch. LUCA: If the money is good enough. SOLLOZZO: On the first shipment, I can guarantee you fifty thousand dollars. $ LUCA looks at him; he had no idea that the offer would be so good. SOLLOZZO extends his hand, but LUCA pretends not to see it, rather, he busies himself putting a cigarette in his mouth. BRUNO TATTAGLIA, behind the bar, makes a cigarette lighter magically appear, and holds it to LUCA's cigarette. Then, he does an odd thing: he drops the lighter on the bar, and puts his hand lightly on LUCA's, almost squeezing it. IN NITE: SONNY'S LIVING ROOM (WINTER 1997) The telephone in SONNY's house is ringing. He approaches it, obviously fresh from a nap. SONNY: Yeah? VOICE (O.S.) Do you recognize mah voice? SONNY: I think so. Detective Campell? VOICE (O.S.) Right! Don't say my name, just listen. Somebody shot your father outside his place bout' an half-hour ago. SONNY: Is he alive? CAMPELL: I think so, but I can't get close enough. There's a lot of blood. I'll try to find out more. SONNY: Find out anything you can...you got the paper boy comin'? (quitley) Yes! I hope old fart bag dies! :) SONNY then quickly pretents he likes his father again, he dials another number. SONNY: Theresa, let me talk to Tom. Not yet? Have him call me as soon as he gets home. He hangs up. SARAH (O.S.) Charlie? Aldo, who is it? (she enters the room) What u doin' here Sonny? SONNY: (calmly) They shot the old man. SARAH: Oh God... SONNY: Don't worry. Nothing else is going to happen. There is a POUNDING on the door. A man is probably. SARAH: (really frightened) SONNY? SONNY reaches into a cabinet drawer, takes out a gun, and moves quickly. He opens the front door quickly. It is CLEMENZA. He enters, SONNY closes the door. SARAH goes to call Charlie and Aldo. CLEMENZA: (excited) You heard about your father? SONNY: Yeah. CLEMENZA: The word is out in the streets that he's dead. SONNY: Where the hell was Poli, why wasn't he with the Don? CLEMENZA: Poli's been a little sick all winter, he was at's home. SONNY: How many times did he stay home the last couple of months? CLEMENZA: Maybe three, four months. I always asked Fredo if he wanted another bodyguard, but he said no. Things have been so smooth the last ten years... SONNY: Go get Poli, I don't care how sick he is. Pick him up yourself, and bring him to my father's house. CLEMENZA: That's all? Don't you want me to send some people over here? SONNY: No, just me, you and Poli. CLEMENZA leaves, SONNY moves to SARAH, who is at phone talking to Aldo. SONNY: I better go buy a cell phone one day... SARAH stops calling the telephone rings in a couple of minutes. SONNY answers it. SONNY: Yello? SOLLOZZO (O.S.) Santino Corleone? SARAH moves behind him, anxious to know who it is. SONNY indicates that she be quiet. SONNY: Yeah. SOLLOZZO (O.S.) We have Tom Hagen. In about three hours he'll be released with our proposition. Don't do anything until you've heard what he has to say. You can only cause a lot of trouble. What's done is done. Don't lose that famous temper of yours, eh, hahahaha! SONNY: I'll wait. EXT NITE: MALL (WINTER 1997) FULL VIEW OF THE CORLEONE MALL. It is night, but the courtyard is bathed with white light from floodlights on the tops of all the houses. It is very cold. We see the figure of SONNY cross the Mall, and let himself into the main house. IN NITE: DON'S KITCHEN (WINTER 1997) SONNY walks into the empty, darkened house. Then he calls out. SONNY: Mamam? Mamah, where are u? The kitchen door swings open. He moves quickly and takes her by the arm. He is deliberately calm. SONNY: Mum, I just got a call. Old man's hurt, he might DIE. CARMELA: Santino? Have Solozzo killed him? SONNY: I don't know yet, Mamh. CARMELA: I'll get dressed. In case we can see him. She moves out of the kitchen, and continues upstairs. SONNY turns the gas from the pan of peppers she was frying. He takes some bread without thinking, and dips it in the oil, and sloppily eats some of the peppers, as he moves into his father's office. INT NITE: DON'S OFFICE (WINTER 1997) He switches the lights on in the DON's office. The massive desk dominates the room. SONNY moves quickly to the telephone, pulling a small chair to the side of the desk, and dials a number. SONNY: Tessio? Yeah, this is Santino Corleone. I want fifty reliable men out here. TESSIO (O.S.) I know what happened, Sonny, but what about Clemenza's regime? SONNY: I don't want to use Clemenza's people right now. Understand? He hangs up. He moves quickly to a wall safe; operates the dial, and removes a small notebook. He takes it back to the desk, and runs over the list of numbers with his forefinger. We follow the names, FREDO, TESSIO, CLEMENZA, TOM, LUCY, ALDO, CHARLIE, many more names until the finger stops at one: LUCA BRASI. SONNY dials the number. There is no answer. SONNY: Luca dosen't answer, fuck. INT NITE: BUILDING (WINTER 1997) The interior of an abandoned building. SEVERAL MEN in suits sit around in the booths. HAGEN sits in one: SOLLOZZO sits across from him. SOLLOZZO: I know you're not in the mood end of the family, so I don't want you to be afraid. I want you to help the Tattaglias and I want you to help me. HAGEN's hands are shaking as he tries to put a cigarette in his mouth. ONE of the BUTTON MEN brings a bottle of whiskey and chocolate cookies to the table, and pours a little into a glass. HAGEN sips shakeley. SOLLOZZO: Your boss is... dead. HAGEN is shocked: actual tears spring to his eyes. SOLLOZZO pauses respectfully. SOLLOZZO: (giving him the bottle) Have some more. We got him outside his office, just before I picked you up. You have to make the peace between me and Santino. HAGEN still is focused on the grief of losing the old fart. SOLLOZZO: Sonny was hot for my deal, right? You know it's the smart thing to do too. I want you to talk Sonny into it. HAGEN: (pulling himself together) Sonny will come after you with everything he's got. SOLLOZZO rises, impatiently. SOLLOZZO: That's going to be his first reaction. You have to talk some sense into him. The Tattaglia family stands behind me with all their people. The other France Families will go along with anything that prevents a full mob war. He goes close to HAGEN. SOLLOZZO: The Don was slipping, in the old days I could never have gotten to him. Now he's dead, nothing can bring him back. Talk to Sonny, talk to the Caporegimes, Clemenza and Tessio it's good business. HAGEN: Even Sonny won't be able to call off Luca Brasi. SOLLOZZO: So Luca's going to betray us huh? I'll worry about Luca. You take care of Sonny and the deal. HAGEN: I'll try...It's what the Don would want me to do. SOLLOZZO: (lifting his hands in an expression of harmlessness) Good...then you can... go. (he escorts him to the door) I don't like violence, Tom. I'm a businessman, and blood is a big expense. He opens the door; they step out together. EXT NITE: BUILDING HAGEN, SOLLOZZO exits. But a car pulls up, and MIKEY pulls out. He indicates with some urgency that he wants to talk to SOLLOZZO in private. SOLLOZZO: Hold on a sec. Then SOLLOZZO moves with a grave expression. He opens the door, indicating that HAGEN should be led back in. SOLLOZZO: (Angry) The old fart is still alive! Seven bullets in his Sicilian ass and he's still alive! (he gives a fatalistic shrug) that's BAD luck for me! And bad luck for... you. EXT NITE: MALL (WINTER 1997) MICHAEL driving during the night. There is a little fog in the air, and Slender Man was about too appear, making MICHAEL difficult to see well. The wipers move across the view, as the gate of the Corleone Mall appears before us, still decorated for Christmas. The courtyard is bathed with white floodlight, giving this place a cold and isolated look. The narrow entrance mouth of the Mall is sealed off with a link chain. There are strange cars parked along the curving cement walk. SEVERAL MEN are congregated about the gate and chain; ONE of them approaches MICHAEL's car. MAN: Who you? ANOTHER peeks his sexy face almost right up to MICHAEL, and then turns. MAN 2: It's the Don's punk; take the car, I'll bring him inside. The FIRST MAN opens the car door, and MICHAEL steps out. INT NITE: HALL (WINTER 1997) The Hallway of the main house is filled with MEN MICHAEL doesn't recognize. They pay little attention to him. Most of them are waiting, sitting uncomfortably, no one is talking. INT NITE: DON'S LIVING ROOM (WINTER 1997) MICHAEL moves into the living room, there is a Christmas tree, and countless greeting cards taped to the walls. THERESA is sitting stiffly on the sofa, smoking a cigar; on the coffee table in front of her is a water glass half filled with coffee and meringue. On the other side of the sofa sits CLEMENZA; his face is impassive, but he is sweating, and the cigar in his hand glistens slickly black with his saliva. POLI GATTO sits tensely and alone on the other side of the room. CLEMENZA sees MICHAEL, looks up at him. CLEMENZA: Your mother's at the hospital with the old man. He's gonna pull through. MICHAEL nods his relief. MICHAEL: Thanks. He moves to THERESA. MICHAEL: (gently) U heard from Tom yet? Without looking up, she clings to him for a moment, and trembles. Occasionally, STRANGE MEN will cross through the room; everyone speaks in a whisper. MICHAEL: (taking her hand) C'mon, talk to me. He leads her into his father's office without knocking. INT NITE: DON'S OFFICE (WINTER 1997) SONNY and TESSIO are sitting on two of office chairs like bosses. They look up, startled. SONNY: Don't worry, Theresa; they just want to give Tom the proposition, then they're going to turn him loose. TESSIO hugs THERESA, and then to MICHAEL's surprise, he says that she used HIS new perfume. SONNY: New perfume? Wtf? Anyway I was worried when we couldn't get in touch with you in that sick town. MICHAEL: How's Mom? SONNY: Good. She's been through it before. Me too. You were too young to know about it. You better wait outside, there're some things you shouldn't hear. MICHAEL: Can I help you out? SONNY: Oh no you can't, the old fart'd be sore as hell if I let you get mixed up in this shit. MICHAEL: Jesus Christ, he's my father, Sonny. SONNY: (Stands up, is about to punch Michael) Theresa, leave. She leaves them alone. SONNY: I won't hurt u,... yet, all right, Mikey, who do we have to hit, Clemenza, Poli or Meatball? MICHAEL: Wut? SONNY: One of them triggered the old man. MICHAEL didn't realise that the men waiting outside were on trial for their lives. MICHAEL: Clemenza? No, I don't believe it. Tessio? No, never, not likely... SONNY: You're right, kid, Clemenza is okay. It was Poli. MICHAEL: How can you be sure? SONNY On three days Poli was sick this month, he got calls from a payphone across from the old man's building. We got people in the phone company. (He shrugs) Thank God it was Poli... We'll need Clemenza badly. MICHAEL is just realising the gravity and extent of the situation. MICHAEL: Is it going to be all-out war, like last time? SONNY: Until the old man tells me different. MICHAEL: Then wait, Sonny. Talk to pop. SONNY: Sollozzo is a dead man, I don't care what it costs. I don't care if we have to fight all the five families in France. The Tattaglia family's going to eat dirt. I don't care if we all go down together. MICHAEL: (Softly) That's not how papa would have played it. SONNY: I know I'm not the man he was. But I'll tell you this and he'll tell you too. When it comes to real action, I can operate as good as anybody short range. MICHAEL: (Calmly) All right, Sonny. All right. SONNY: Christ, if I could only contact Luca. MICHAEL: Is it like they say? Is he that good? Outside, we HEAR THERESA cry out, almost a scream of relief. Then open the door and rush out. Everyone is standing: in the doorway, TOM HAGEN is wrapped in a tight embrace with his WIFE. HAGEN: If I plead before the Supreme Court, I'll never do better than I did tonight with that Turk. EXT NITE: MALL, FEATURING DON'S HOUSE (WINTER 2009) The windows of the main house are dark except for the DON's study. It stands out against the cold, dark night. INT NITE: DON'S LIVING ROOM (WINTER 2009) The living room is empty, save for POLI GATTO sitting on the edge of the sofa. The clock reads: 4:00 AM. INT NITE: DON'S OFFICE (WINTER 2009) SONNY, MICHAEL, HAGEN, CLEMENZA and TESSIO; all exhausted, in shirtsleeves, about to fall asleep. It is four in the morning; there is evidence of many cups of coffee and many snacks. They can barely talk anymore. HAGEN: Is the hospital covered? SONNY: The cops have it locked in and I got my people there visiting papah all the time. What about the hit list. HAGEN widens his sleepy eyes, and looks at the yellow pad. HAGEN: Too much, too far, too personal. The Don would consider this all purely a business dispute: Get rid of Sollozzo, and everything falls in line. YOU don't have to go after the Tattaglias. CLEMENZA nods. HAGEN: What about Luca? Sollozzo didn't seem worried about Luca. That worries me. SONNY: If Luca sold out we're in real trouble. HAGEN: Has anyone been able to get in touch with him? SONNY: No, and I've been calling all night. Maybe he's shacked up. HAGEN: Luca never sleeps over with a broad. He always goes home when he's through. Mike, keep ringing Luca's number. MICHAEL, very tired, picks up the phone, and dials the number once again. He can hear the phone ringing on the other end but no one answers. Then hangs up. HAGEN: Keep trying every fifteen minutes. (exhausted) SONNY: Tom, you're the lawyer, what do we do if the old man dies? HAGEN: Without the Don's political contacts and personal influence, the Corleone family loses half its strength. Without your father, the other France families might wind up supporting Sollozzo, and the Tattaglias just to make sure there isn't a long destructive war. The old days are over, this is 2010; nobody wants bloodshed anymore. If your father dies... make the deal, Sonny. SONNY: (angry) That's easy for you to say; it's not your father. HAGEN: (quietly) I was as good a son to him as you or Johnny or Mike. SONNY: Oh Christ Tom, I didn't mean it that way. HAGEN: We're all tired... SONNY: Ok, we sit tight until the old man can give us the lead. But Tom, I want you to stay inside the Mall. You too, Mike, no chances. Clemenza, you hold your people in reserve, but have them nosing around the city. The hospital is yours; I want it tight, fool-proof, 24 hours a day. There is a timid knock on the door. SONNY: What is it? POLI GATTO looks in. CLEMENZA: I tol' you to stay put, Poli... POLI: The guy at the gate's outside...says there's a package... SONNY: Tessio, Goh' see what it is. TESSIO gets his old pedo s up, leaves. POLI: You want me to hang around? SONNY: Yeah. HANG (chuckles) around. Poli: Butt Outside? CLEMENZA: Yep. Outside. Poli: Sure. He closes the door. SONNY: Clemenza. You take care of Poli. I don't ever want to see him again. Understood? CLEMENZA; Understood. SONNY: Okay, now you can move your men into the Mansion, replace Tessio's people. Mikey, tomorrow you take a couple of Clemenza's people and go to Luca's apartment and wait for him to show up. That crazy French bastard might be going after Sollozzo right now if he's heard the news. HAGEN: Maybe Mike shouldn't get mixed up in this so directly. You know the old fawk doesn't want that. SONNY: OK - forget it, just stay on the phone. MICHAEL is embarrassed to be so protected. He dials Luca Brasi's number once again. The ring repeats, but no one answers. TESSIO comes back, carrying Luca Brasi's o' bullet-proof vest in his hand. He unwraps it; there is a large fish wrapped inside. SONNY: WTF is dis??! CLEMENZA: A Sicilian message: Luca Brasi sleeps with the fishes. SONNY: Not like I care, lel. I never liked him. INT. NITE: STRIPCLUB (WINTER 2009) LUCA sits at the Luna Bar of the Tattaglias, as we remember him. BRUNO TATTAGLIA had just patted his hand. LUCA looks up at him. Then SOLLOZZO pats the other hand, almost affectionately. LUCA is just about to twist his hands away, when they both clamp down as hard as they can. Suddenly, a garrote is thrown around his neck, and pulled violently tight. His face begins to turn to purple blotches and red, and then totally purple, right before our eyes; his tongue hangs out, in a far more extreme way than a normal tongue could. His eyes bulge and his sockets feel like tearing apart. ONE of the MEN looks down at him in disgust as LUCA's life strength leaves him. BRUNO: (making a disgusted face) Oh Christ... NOT ALL over the floor! SOLLOZZO lets LUCA's hand go with a victorious smile on his face. LUCA falls to the floor. SOLLOZZO: The Godfather is next. BRUNO: Yes, but goddamn it, Sal! U had to drop him all around the floor? LUCA'S ASSASSIN: Sorry, boss. There was no other option as you can see. BRUNO: Jeez Louise. ---- FADE OUT-------- FADE IN: EXT DAY: CLEMENZA'S HOUSE (WINTER 2009) Morning in a simple Crazy Town suburb. There are rows of pleasant and peasant houses; driveway after driveway, down the block. A dark, sober young man of around 30 or more walks with a noticeable limp down the sidewalk, and rings the bell. This is ROCCO LAMP. The woman of the house, MRS. CLEMENZA, talks to him through the screen door, and then points to the side of the house. ROCCO moves to the garage, which is especially heated, and in which CLEMENZA is busy at work washing a shiny brand new BMW. LAMP admires the car. LAMP: Nice baby, Pit. CLEMENZA: Ikr? This thing is fast as whole hell! You betcha. He scrubs and polishes it with great affection. CLEMENZA: Today Trapani shall make his bones on Poli Gatto. We pick him up in Old Town. You understand everything? LAMP: Sure. CLEMENZA: Does he? ROCCO: Dah. As he scrubs around the glove compartment, he opens it, unwraps a bat and gives it to LAMP to give it to TRAPANI. CLEMENZA: A fricken' Baseball Bat. LAMP expertly puts the gun away. GATTO's car pulls into the driveway, and he sounds the horn. The two men walk to the car. GATTO is driving, a bit nervous, like he knows what is up. LAMP gets in the rear seat; CLEMENZA in the front, making a grunt of recognition. He looks at his wristwatch, as though wanting to chide POLI for being late. GATTO flinches a little when he sees LAMP will ride behind him; he half turns: POLI: Rocco, sit on the other side. A big guy like you blocks my rear-view mirror. CLEMENZA turns sourly to POLI. CLEMENZA: And what's with Sonny. He's running scared. He's already thinking of going to the mattresses already. We have to find a place on the West Side. Poli, you know any good locations in Old Town? POLI relaxes a bit; he thinks he's off any possible hook he was on. Also there's the money he can make by selling SOLOZZO any secret location. POLI: Yeah. I'll think about it. CLEMENZA: (grunting) While think about it while you're drivin', will ya? My mom also needs some meringue, y'know. The car pulls out. EXT DAY: POLI'S CAR - ON ROAD (WINTER 2009) Inside POLI drives; and CLEMENZA sits in a grump. OUR VIEW does not show LAMP in the rear seat. EXT DAY: POLI'S CAR AT TUNNEL (WINTER 2009) The car crosses trough the Mid Town Tunnel in the late winter light. INT DAY: POLI'S CAR IN TUNNEL (WINTER 2009) Inside the tunnel; GATTO doesn't like not seeing LAMP. He tries to adjust his rear-view mirror to catch a glimpse of him. CLEMENZA: Pay attention! POLI: Sry. EXT DAY: POLI'S CAR AT MATTRESSES The car is parked in Old Town. POLI gets out of the restaurant and brings meringue. POLI: Good for ur wife, eh? CLEMENZA: Ok, whatever, yeah. Look, stop at The Roost bar. We need to pick TRAPANI up there. POLI nods and the car pulls off. EXT DAY: OLD TOWN (WINTER 2009) New part of the city; the car pulls up in a parking lot. CLEMENZA get outs, glances at LAMP, then POLI. CLEMENZA: You wait; I'll get TRAPS. He walks in, tucking his large shirt into his pants, around the corner and enters the Roost. INT DAY: RESTAURANT (WINTER 2009) CLEMENZA enters the Tattaglia restaurant, sits down at a table. VINCENTE TATTAGLIA dislikes him for he is a Corleone and refuses to serve him; After a while TRAPANI shows up and goes to CLEMENZA. EXT DAY: ROOST (WINTER 2009) CLEMENZA exits the saloon with TRAPS and adjusts his pants; CHARLES knows what he must do. We move with them around the corner, not knowing what to expect has happened to POLI and LAMP. There is the car; POLI is still sitting behind the wheel, LAMP in the rear seat. CLEMENZA and TRAPANI step in. CLEMENZA: We have to go back to Crazy Town. I'm going home, guys. LAMP (O.S.): K. The car pulls out. By now, POLI is completely relaxed and secure. POLI: You think SONNY will ever chill after this? CLEMENZA: Maybe, or you gotta know: Maybe not. POLI: Holy cow, at least I don't gotta have'ah ta' know nothing. EXT DAY: PAULIE'S CAR ON CAUSEWAY, GOING TO KRATZY TOWN (WINTER 2009) The car moves along the trainyards area of the causeway. Inside, CLEMENZA turns to POLI. CLEMENZA: Poli, pull over. I gotta take a leak. The car pulls off the 'yards, into the reeds. CLEMENZA steps out of the car, our view moving with his fat s. He turns his back three quarters from us (we can no longer see Gatto's car), unzips his large pants down, and we see him PISSING BLOOD! Holly sith! Then we see POLI run out of the car into the railyards, with TRAPANI following him with the bat he got from LAMP. TRAPANI succeeds in catching up with GATTO after some run-ups and finishes him off with the bat, crashing his skull. CLEMENTZA finishes his bloody leak, screams like all hell, zips up his fat pants and turns back, moving back to the car. TRAPANI: Holly shit! SITH! SITH!!! Is dat blood?! LAMP: You mean what Pit was pissin'? CLEMENZA: Yeah, yeah, you two shut ur mouths! It was... and so!?? Its my dick! I can piss what I want. TRAPANI: Christ... CLEMENZA: Leave the gun, take zee meringue. Category:Dialogues Category:The Godfather